Bob_Zerunkel From the comments and reviews, it seems that people think that this was a clumsily handled movie about racism. It isn't.Poitier plays a man with little practical experience, but the stripes that put him in charge. Ladd plays a man who has all the practical experience, but he lost his stripes due to unexplained incidents in his past.Poitier has to deal with one racist guy. That's all. The rest of the outfit, including Ladd, don't care if Poitier is black.Ladd comes close to rebelling against Poitier, but it has nothing to do with race. It has to do with Poitier's lack of experience. Even with their infighting, Ladd backs up Poitier every time there is action. Poitier was the first to run to save Alcalde. Ladd was the second.Another point that the reviewers don't like is Ladd's age. Go ask grampa. Lots of old timers fought in WWII and Korea. It isn't a stretch at all.And finally, there were many remarks about bad casting because they didn't use actual Koreans or Chinese. They filmed in the mountains of Montana. There wasn't a lot to choose from. The extras that they used not only were the wrong race, but were often holding the wrong weapons. That's life in a low budget flick. Nonetheless, the people that think this is a movie that champions racial equality are also the same people that accuse this movie of racism as far as the extras. Go figger. I suppose some people can have it both ways.I've always loved Poitier. He has done many movies where race dominates. This isn't one of them. He's just a guy who is in over his head and he tries to do his best.

tavm In reviewing movies featuring African-Americans in chronological order for Black History Month, we're now at 1960 with All the Young Men. Sidney Poitier plays a marine sergeant during the Korean War who suddenly becomes the leader of his troop after the lieutenant dies and makes him so. Only two men seem to really object to him, an experienced private (Alan Ladd), and a Southern racist soldier (Paul Richards). Poitier's presence is felt throughout with his best scenes being with the racist after catching him trying to rape a Korean woman whose house they're temporarily staying at. Despite his production company-Jaguar-being in charge, Alan Ladd leaves most of the picture to Poitier though occasionally he has some good scenes like when he talks to a fellow soldier about his wife and kid. Most of the picture was pretty good but the way they ended it with the record of "When the Saints Go Marching In" playing as the score as they gun down the enemy struck me as blatantly jingoistic especially as they were making many of the mixed nationalities in the troop human with many of their back-stories revealed as they talk to each other in between battles. Among the other men: comic Mort Sahl using some his amusing monologue here and James Darren singing the okay title song. All in all, All the Young Men was an okay war picture that I'd recommend to Poitier fans.

Robert J. Maxwell There isn't really much to be said about this movie. Poitier gives the only good performance but nobody can be said to have come out of this effort with much pride. The cast is filled with non-actors, including a stand-up comic and an ex-prize fighter. The singing is done by non-singers, including the ex-prize fighter. And the song after which the film is named is not only sung poorly, it's poorly written. The production values are low. There are some nice outdoor shots towards the beginning, a snowy mountainous slope. The majority of the time is spent in a single indoor set. And some of the outdoor shots are thoughtlessly done -- here are these marines dug into the snow on a hill top and there is neither wind nor smoking breath. The obligatory woman is shoehorned into the plot, but fortunately doesn't act as anyone's love interest; she's there mainly to provide a target for attempted rape. The action scenes aren't bad but they conform to every convention in the book. The marines occupy an isolated post and must prevent the Reds from coming through the pass. They are attacked by about two dozen faceless extras, all of whom are slaughtered. They die like flies, building up a big body count. Our guys die one at a time, and always live long enough to utter a few last lines -- "Find that farmhouse and take it," or "Navahos shouldn't have to die in the snow." The humor is limited and is provided entirely by Mort Sahl in monologues and occasional wisecracks. Come to think of it, the whole thing reminds me a bit of a Sam Fuller movie, maybe "Fix Bayonets". What in-group tension there is, is provided by the competitive clash between Alan Ladd (looking too old for this kind of business, but he was a producer) and Sidney Poitier as the sgt. who inherits command of the unit. There is also a racist Southern redneck who wises up before the film ends. There is no sociopolitical content to speak of. All in all, it's not a hateful movie -- there's nothing disgraceful about it -- but you can probably find better ways to spend your time.

yenlo It seems that most war films about the Korean War during the time this one was made struggled to get their message across. They wanted to show action like all war pictures but also wanted to convey an anti-war message without being openly blatant about it. This picture while often times sluggish has some good moments in it. Comedian Mort Sahl gets a scene where he's allowed to do what he does best, semi-sarcastic comedy. All in all it's not an overly bad war film but it's not one of the better ones either. Former heavyweight champion Ingemar Johansson who hailed from Sweden has a role in this movie.